The New York Times' Scores

For 11,867 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Remains of the Day
Lowest review score: 0 Awakened
Score distribution:
11867 movie reviews
  1. More than a fable about the clash of tradition and modernity, Ixcanul is finally a painful illustration of the ease with which those who have can prey on those who don’t.
  2. So effective does it close the distance between you and Mr. Bernstein that afterward you may find yourself scanning the streets, hoping to catch sight of him, as if for an old friend.
  3. Life rushes by so fast, it flickers today and is gone tomorrow. In 56 Up - the latest installment in Michael Apted's remarkable documentary project that has followed a group of Britons since 1964, starting when they were 7 - entire lifetimes race by with a few edits.
  4. More elegantly plotted and streamlined than the first film.
  5. One of the pleasures of Up in the Air is that its actresses share the frame with Mr. Clooney as equals, not props
  6. Mr. Heinzerling is an artist too. The window he has opened onto the lives of his subjects is a powerful and beautiful visual artifact in its own right.
    • 83 Metascore
    • 100 Critic Score
    Not merely a technical landmark -- shot entirely in digital 3D -- but also an aesthetic one, in that it’s the first Imax movie that deserves to be called a work of art.
  7. The movie maintains a refreshingly light touch in spinning a fable about individualism and conformity.
  8. Duvall's unobtrusive direction moves the film at a leisurely pace that lets many scenes build the gentle, pleasing rhythms of small-town Southern life. A rare display of spiritual light on screen.
  9. The most voluptuous comic-book movie ever made.
  10. The English director Mike Leigh's best work in a decade.
  11. While this film can seem politically simplistic, it is nonetheless psychologically astute, and more complicated than it at first appears.
  12. A goofy and remarkable film.
  13. One must remark that the ending is not up to Mr. Hitchcock's usual style, and the general atmosphere of the picture is far less genuine than he previously has wrought. But still he has managed to bring through a tense and exciting tale, a psychological thriller which is packed with lively suspense and a picture that entertains you from beginning to—well, almost the end.
  14. One lesson of Lake of Fire is the galvanizing power of the visual image. Sometimes a picture is worth a thousand words, and sometimes pictures are not enough.
  15. Good sports movies are always about more than sports... Red Army touches on themes of friendship and perseverance, and also offers a compact and vivid summary of recent Russian history.
  16. A film that begins as a family quest but evolves into a gripping study of know-don't-tell reticence and the umbilical tie of a lost homeland.
  17. By surrendering any semblance of rationality to create a post-Freudian, pulp-fiction fever dream of a movie, Mr. Lynch ends up shooting the moon with Mulholland Drive.
  18. Blind evokes a dreamy, dour fusion of Charlie Kaufman and Ingmar Bergman. Its few flashes of wry humor are outweighed by mystically beautiful images.
  19. The Magdalene Sisters would be too painful to watch if it didn't have a silver lining. Suffice it to say that it is possible to fly over this religious cuckoo's nest and remain free. All it takes is courage and the timely kindness of strangers.
  20. Mr. Toback's film, partly because it restricts itself to Mr. Tyson's point of view, offers a rare and vivid study in the complexity of a single suffering, raging soul. It is not an entirely trustworthy movie, but it does feel profoundly honest.
  21. Mr. Branagh has made a fine, rousing new English film adaptation of Shakespeare's ''Henry V,'' a movie that need not apologize to Laurence Olivier's 1944 classic.
  22. The movie is not really about deciding whether you’re gay or straight — those terms are never spoken. It’s about the chemistry of two people at a moment in time.
  23. The film, which includes some breathtakingly beautiful images of the green, wet Guyanese jungle and a monumental waterfall that cuts through it, is driven less by narrative than by ideas and impressions.
  24. They have created an ingeniously fluid narrative structure that, when combined with Ms. Roberts’s visuals, news material and their own original 16-millimeter film footage, ebbs and flows like great drama.
  25. The ensemble of young actresses is a constantly restless and real presence, the perspective filtered mostly through the cheeky Lale but also through the group as a loving crew.
  26. The look is rough, the emotions always hovering near the surface. Yet, buoyed by Mr. Sharif’s cheery personality, these can sometimes be defiantly upbeat.
  27. Its abrasive portrait of contemporary New York as a place of noise and nerve-rattling turmoil captures the mood of the city more accurately than any recent film I can think of. And the jagged camera work exacerbates the film’s jarring sense of immediacy.
  28. It Follows recycles familiar teenage horror tropes — a girl alone in a house, evil forces banging on a door — but its mood is dreamy. Seldom do you feel manipulated by exploitative formulas. The violence, when it comes, is sudden, and the camera doesn’t linger over the gore.
  29. Don’t Think Twice, which has a warm heart, could have been a much nastier movie. Yet its disappointed show-business hopefuls dreading their expiration dates make no bones about their insecurities.
  30. The Happiest Day in the Life of Olli Maki deepens quietly. This is Mr. Kuosmanen’s first feature (he has directed a few shorts), and if he had any rookie jitters you wouldn’t know it.
  31. Something close to a masterpiece, a work of extreme -- I am tempted to say evil -- genius.
  32. The sibling directors Lisa and Rob Fruchtman have made a nuanced and deftly edited film about a complex issue.
  33. [A] quiet, devastating critique of the antiquated Indian legal system.
  34. It is as intimate and honest a portrait of a rock artist’s creative roots as any film has attempted.
  35. The film makes uncompromising demands on your attention and your empathy. But it is also illuminating and, in its downbeat, deliberate way, exhilarating.
  36. Election is a deft dark comedy with a resemblance to "Rushmore." It's smart no matter what.
  37. Creed is a dandy piece of entertainment, soothingly old-fashioned and bracingly up-to-date.
  38. Mark Kendall’s quietly moving documentary, La Camioneta: The Journey of One American School Bus, is as modest and farsighted as its cast of Guatemalans who make a living resurrecting discarded American school buses.
  39. Like no other film about middle school life that I can recall Monsieur Lazhar conveys the intensity and the fragility of these classroom bonds and the mutual trust they require.
  40. Since the movie is about desire -- not so much for sex as for the vitality and surprise that sex can provide -- it is also about power. Few writers can match Mr. Kureishi's knowing wit on this subject, or his skill at dissecting the shifting dynamics of longing and domination.
  41. While eavesdropping on these academics, you may be captivated by their exchanges while frustrated by their stasis while curious about their lives. Indeed, there are several ways to look at these scenes. But all you really have to do is listen.
  42. One of the great movies of the 1960's, but it has been, in this country at least, maddeningly elusive. In spite of its bitter edge, Billy Liar is pure Ambrosia.
  43. Unforgiven... never quite fulfills the expectations it so carefully sets up. It doesn't exactly deny them, but the bloody confrontations that end the film appear to be purposely muted, more effective theoretically than dramatically.
  44. As the film's images accumulate, the movie becomes a sustained and ultimately refreshing meditation on surrender to the idea of temporality.
  45. The filmmakers record the flash of youth’s headlong energies, its bumps and bruises, and its melancholies and brilliant chaos.
  46. The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
  47. One of the pleasures of Ajami, a tough and in many ways unsparing movie, is its deep immersion in the beats and melodies of everyday life in Jaffa and beyond.
  48. The mischievous paradox of Matías Piñeiro’s Viola is that it is at once devilishly complicated and perfectly simple.
  49. Mr. Boyle has a knack for tackling painful, violent or unpleasant subjects with unremitting verve and unstoppable joie de vivre.
  50. Beautifully written and acted, Tell No One is a labyrinth in which to get deliriously lost.
  51. The Illusionist is both a modest homage to its writer and a melancholy look at a lost world.
  52. To put the matter perhaps more abstractly than such a sensual film deserves, it is about the fate of untameable, irrational desire in a world that does not seem to have a place for it.
  53. It’s ultimately a movie — one of the most rigorous and thoughtful I’ve seen — about the ethical and existential traps our fame-crazed culture sets for the talented and the mediocre alike.
  54. A tight, fascinating chronicle of arrogance and greed.
  55. The movie is full of juices that give it a healthy, pungent flow.
  56. Mr. Cage digs deep to find his character's inner demons while also capturing the riotous energy of his outward charm. [27 October 1995, p. C3]
    • The New York Times
  57. Has a quiet, cumulative magic, whose source is hard to identify. Its simple, meticulously composed frames are full of mystery and feeling; it's an action movie that stands perfectly still.
  58. Natalia Almada's eloquent documentary portrait of a sprawling graveyard in Culiacán, Mexico, in the northwestern state of Sinaloa. The rapidly expanding cemetery has become the burial ground of choice for the country's slain drug lords.
  59. A soulful, piercingly beautiful story.
  60. This is a supremely well-executed piece of popular entertainment that is likely to linger in your mind and may even trouble your conscience.
  61. Even as the gathering melodramatic storms threaten to swamp this pungent slice of life, Mr. Cretton manages to earn your tears honestly.
  62. Ron Howard's bittersweet adult comedy, Parenthood, lays out an entire catalogue of psychological stresses afflicting family life in white middle-class America, then asks if the rewards of being a parent are worth all the agony.
  63. What distinguishes Memories of Murder, setting it apart from rank-and-file thrillers, is its singular mix of gallows humor and unnerving solemnity.
  64. It is both sad and hopeful, but the film's sorrow and its optimism arise from its rarest and most thrilling quality, which is its deep and humane honesty.
  65. The history presented in The Wind That Shakes the Barley hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
  66. Before we go numb from such prefab excitement, here comes a mega-movie that actually delivers what mega-movies promise: strong characters, smart plotting, breathless action and a gimmick that hasn't been seen before.
  67. Cruelty and humor are nestled like spoons in a drawer. Mr. Lanthimos’s method is to elicit an appreciative chuckle followed by a gasp of shock, and to deliver violence and whimsy in the same even tone. “The Lobster” is often startlingly funny in the way it proposes its surreal conceits, and then upsettingly grim in the way it follows through on them.
  68. Gathers you up on its white horse and gallops off into the sunset. Along the way, it serves a continuing banquet of high-end comfort food perfectly cooked and seasoned to Anglophilic tastes.
  69. The purity and breadth of this meticulous study are all the more gratifying in view of its unprepossessing style.
  70. It may sound facetious, but Winged Migration provides such an intense vicarious experience of being a flapping airborne creature with the wind in its ears that you leave the theater feeling like an honorary member of another species.
  71. Both sharply comical and piercingly sad. Mr. Baumbach surveys the members of the flawed, collapsing Berkman family with sympathy but without mercy, noting their individual and collective failures and imperfections with relentless precision.
  72. Mr. Tsai typically uses narrative as a tool for exploring the moods and meanings that link his characters with one another and with the city that awakens, contains and frustrates their desires. They seem very much stuck in their world, but because that world is the creation of a wildly original artist coming into his own, it also feels alive with possibility.
  73. A very funny for-kids-of-all-ages delight that should catapult Mr. Black straight to the top of the A-list of Hollywood funnymen.
  74. Isn't just a pleasurable rethink of your geek uncle's favorite science-fiction series. It's also a testament to television's power as mythmaker, as a source for some of the fundamental stories we tell about ourselves, who we are and where we came from.
  75. The Namesake, adapted from Jhumpa Lahiri’s popular novel, conveys a palpable sense of people as living, breathing creatures who are far more complex than their words might indicate.
  76. With its swift, jaunty rhythms and sharp, off-kilter jokes, Frances Ha is frequently delightful. Ms. Gerwig and Mr. Baumbach are nonetheless defiant partisans in the revolt against the tyranny of likability in popular culture.
  77. Mr. Schlesinger draws lively performances out of his cast and surprising variety out of the film's secondary sights, which range from a gala soiree to a heap of steaming dung.
  78. The brutality in the film is pervasive and often stomach turningly graphic, but what is perhaps most unnerving is the tact, patience and care with which Mr. McQueen depicts its causes and effects.
    • 82 Metascore
    • 90 Critic Score
    Mr. Wang's slow-reveal psychological drama isn't just a showcase for his excellent ensemble cast. Beautifully modulated and stylistically sui generis, In the Family is also one of the most accomplished and undersold directorial debuts this year.
  79. For all the alarming statistics cited in the film, Burn is not a depressing movie. The firefighters interviewed are remarkably resilient men who talk enthusiastically about the adrenaline rush of their work. And the film makes you thankful for members of this macho breed, who relish risking their lives to save others.
  80. In A Hijacking, his assured, intense second feature, the Danish director Tobias Lindholm turns tedium and frustration into agonizing suspense.
  81. It is impossible not to be fired up by Kurt Kuenne's incendiary cri de coeur, Dear Zachary: A Letter to a Son About His Father.
  82. Mr. Reiner and Mr. Kudlow may not quite merit full-metal glory, but they don't deserve oblivion either, and Anvil! The Story of Anvil makes both a case and a place for their band.
  83. As in many road movies, the trip becomes an occasion for philosophizing, a journey inward and out as the men joust and parry, improvising and entertaining each other, at times by imitating, hilariously, someone else (Michael Caine, Sean Connery).
  84. This film may disappoint some dogmatic Old Hogwartsians: a few plot points have been sacrificed, and Mr. Cuarón does not seem to care much for Quidditch. But it more than compensates for these lapses with its emotional force and visual panache.
  85. The integrity of the film, whose directorial team has collaborated on numerous Belgian documentaries, extends to its sad final moments, in which nothing is left neat and tidy.
  86. Has the elements of an emotionally gripping story. Yet is feels less like a romance than like a coffee-table book celebrating the magic of special effect. [6 July 1994, p. C9]
    • The New York Times
  87. Mr. Gilroy hasn’t reinvented the legal thriller here, but I doubt that was his intention; at its best and most ambitious, the film plays less like a variation on a Hollywood standard than a reappraisal. It’s a modest reappraisal, adult, sincere, intelligent, absorbing; it entertains without shame.
  88. [A] sneakily compelling documentary.
  89. It is fascinating without being especially illuminating, and it holds your attention for its very long running time without delivering much dramatic or emotional satisfaction in the end.
  90. Mr. Ponsoldt ably charts a journey through the high stakes of adolescence, with both Sutter and Mr. Teller showing great promise.
  91. There is a remarkable stillness to many of the film's most indelible images, particularly the exteriors, which are so carefully photographed, and without the usual tiresome camera jiggling, as to look almost frozen.
  92. Despite its affection for the quirks of its characters and their milieu, the film is most memorable for its gravity, for the almost tragic nobility it finds in sad and silly circumstances.
  93. Big Words is an engrossing, coming-of-middle-age drama that shows how disappointment can fester and derail a life. By the end, hope and change seem possible but far from guaranteed.
  94. The Iranian filmmaker Abbas Kiarostami's delicious brain tickler, Certified Copy, is an endless hall of mirrors whose reflections multiply as its story of a middle-aged couple driving through Tuscany carries them into a metaphysical labyrinth.
  95. Though it dedicates itself to avoiding directorial egotism, in accordance with strict rules of the Danish filmmakers' collective known as Dogma 95, Thomas Vinterberg's Celebration is still a virtuoso feat.
  96. If recent American history is ever going to be discussed with the necessary clarity and ethical rigor, this film will be essential.
  97. The substantial pleasures of the movie are supplemented by the gratification of seeing an emerging talent with concerns far outside the conventional indie realm asserting himself with such authority.
  98. The movie culminates in a cinematic coup de grâce bold enough to spin your head — one that gives the movie an entirely new dimension.

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